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Claude Monet
Impression: Sunrise (1872)
Manet
Monet in His Studio Boat (1874)
Pierre-Auguste Renoir
A Dance at the Moulin de la Galette
(1876)
Pieter Bruegel
The Peasant Wedding
(1567)
Pieter Bruegel
Peasant Dance
(1568)
Jan Steen
The Christening
Feast
(1664)
Naturalism and perspective can lead to rigid, lifeless scenes
Naturalism and perspective can lead to rigid, lifeless scenes
Impact of sfumato and tenabrism? (the use of light and dark)
Why can’t impressionist
artists do this like
Leonardo did?
Think about their
working conditions• Open air?
• Sunlight?
Solution = Blur the lines further
Eyes and brain of the
viewer help form the
whole.
Viewers had to learn a new
way to appreciate art
Notice the use of natural
light and shadow
Edgar Degas Absinthe
1876
“Claude Monet, Gare St. Lazare, 1877” (5:36)
The Saint-Lazare Station. Claude Monet. 1877 C.E. Oil on canvas.
Impressionism: Like
realists, they paint
what they see with
their own eyes
Common subjects include
1. Changing modern
world
2. Fleeting effects of light
in changing colors of
what we see
3. Paint on site
Historical Context: • Modern, gritty setting
• Train obscured by steam –
interesting impact on light and
color
• Not a beautiful place -- an
attractive representation of
modern life
• Not an “academic” work
• Lack of accurate perspective
• No accurate contours to subjects
• Focus on light and color rather
than geometry and objects
Mary CassattThe Coiffure (1890-91)
Drypoint Etching
• American Artist: Lived most of her
life in Paris
• Friends with Degas and invited to
participate in Impressionist exhibitions
• Most of her work is of interior scenes
with women or children, un-idealized
and not sentimental (slices of real life)
Mary CassattThe Coiffure (1890-91)
Drypoint Etching
• Flattened forms with contrasting
patterns
• Curves of body contrast with straight
lines
• De-eroticized nude – not like previous
female nudes
• Limited color palette – the focus is on
form and sharpness of line, not color
Art Sleuth: Starry Night
(12:56)
The Starry Night. Vincent van Gogh. 1889 C.E. Oil on canvas.
Post Impressionism
• Use of color and brushwork to
express emotion
• Incorporation of emphasis on
light and color – often depicts
nature rather than city life
• Rooted in imagination and
memory
Inspired by woodcuts – thick
outlines and simple forms –
short brushstrokes resemble
wood block marks
The Starry Night. Vincent van Gogh. 1889 C.E. Oil on canvas.
Content
• Sky filled with energy
• Village = quiet order
• Church spire reflects
Dutch architecture
from his past
Cypress tree forms a bridge between Earth
and sky. Cypress associated with
graveyards and mourning in Europe
Thick impasto (paint laid
on thickly) is a consistent
characteristic of Van
Gogh along with bold,
contrasting colors
In Focus on Paintings:
Cézanne's Montagne
Sainte Victoire
2:15
Mont Sainte-Victoire. Paul
Cézanne. 1902–1904 C.E.
Oil on canvas.
Prominent image?
Use of depth?
Prominent image?
Use of depth?
Prominent image?
Use of depth?
Prominent image?
Use of depth?
Prominent image?
Use of depth?
• Cézanne is a major
influence on 20th century
abstract artists
• Simplification of shape
• Use of multiple vantage
points for same object
Pick up the packet “Things We Missed Part 3: The
Pacific” and the open response (final one for seniors!)
Picasso, Les Demoiselles d'Avignon, 1907
Pablo Picasso
Gertrude Stein
1905–06
“Pablo Picasso. Les Demoiselles d'Avignon. 1907” Audio, 1:46
“Picasso's Les Demoiselles d'Avignon” Video, 7:44
“Les Demoiselles
d'Avignon; Relativity
and the Unconscious” 3:59
Picasso, Les Demoiselles d'Avignon, 1907
• Considered the beginning of
Cubism in the 20th C
• Signals an increasing rebellion
against traditional art
• Asymmetrical, fractured shapes
with jagged planes representing
bodies and clothing
• No softness, no sensuality
• Suggestion of multiple vantage points…like a
composite view (think ancient art)
Pablo Picasso
Girl with a Mandolin
1910
Attempt at total visual
understanding
Georges Braque
The Portuguese, 1911
oil on canvas
Think of trying to represent
all possible views of the cup
Tear it apart represent it
(inside and out) on a flat
space
Georges Braque
The Portuguese, 1911 oil on canvas
• Worked closely with Picasso in
development of Cubism
• Rejection of the idea that art
should copy nature
• Did not follow traditional ideas
of perspective, foreshortening,
light and shadow, or modeling
• Series of overlapping planes
Georges Braque
The Portuguese, 1911 oil on canvas
Analytic Cubism
• Analysis of an object by
looking at every possible angle
• Simplify and fragment objet
into flat, angular wedges
• Recompose the fragments in a
new arrangement showing
multiple vantage points at the
same time
Portrait of Daniel Henry Kahnweiler
Pablo Picasso (1910)
Picasso and Kahnweiler in later years
Auguste Rodin
The Hand of God
(1898)
Balzac (1898)
French novelist (1799-1850)
Rodin wanted to
capture the essence
of the writer rather
than the exact
image of the writer
Commissioned by
the "Society of
Men of Letters of
France“ in 1891
They were not
impressed
Now considered to
be the first modern
sculpture
Auguste Rodin The Burghers of Calais (1884-95)
People of Calais were not impressed
What they wanted:
• Traditional, idealized figures
• Heroism
• Anatomical realism
What Rodin Delivered:
• Psychological realism
• Emotional weight (note the rough,
heavy, unattractive drapery)
• Ordinary people with emotional,
exaggerated expressions
• Anger, despair, sadness,
disbelief, resignation
• Large hands and feet with
elongated arms
• Highly individualized figures
• Commemoration of Eustache
de Saint-Pierre and 5 other
burghers (town leaders) that
surrendered themselves to
save Calais during the
Hundred Years War (1347).
• Commissioned by the city in
1884
3D Model of the workThe Burghers of Calais (1884-95)
This is how Rodin wanted it displayed…people could feel a
closer connection to history and the individuals depicted
Constantin Brancusi
Romanian artist
(1876-1957)
• Strong tradition of stone and
wood carving in peasant (folk)
art in Romania
• Brancusi influenced by this
tradition
• Briefly worked with Rodin but
later completely abandons the
narrative tradition of sculpture
• Redefines the concept of
modern sculpture
• Subjects = simplicity, attempt
to find the essence of the
subject or concept rather than
the natural look of a subjectBird in Space
1923 and 1928
Magic Bird, 1908-1912
The Newborn, 1915
Fish, 1926
The Kiss, 1907-08
• Solid Limestone Block
= Lasting Love
• Symbolized 2
becoming one
• Expresses the concept
of love rather than
naturalism
• Geometric
Abstraction
• Unpolished surface
looks like rough,
unpolished stone
• Brancusi did not
want this displayed
on a pedestal but
placed directly on
the floor
The Scream. 1893. Edvard Munch. Tempera and pastels on cardboard
• Symbolist: Minimal
forms, maximum
expressiveness – unseen
forces of life, dreams
and inner experiences
• Relationship of life and
death
• Visual depiction of
sound and emotion
• Rejection of
naturalistic detail
Theories
• Sky color from
volcanic dust of
Krakatoa
• A memory of a
sensation rather
than reality
• Figure resembles a
Peruvian mummy
• Portrayal of a
nightmare
Characteristics: Bright,
flat shapes combined with
3D elements
Paul Gauguin. Where Do We Come From? What Are We? Where Are We Going? (1897-98)
Spirituality – Designed to recall fresco – Reads right to left
“It is a canvas four meters fifty in width, by one meter seventy in height. The two
upper corners are chrome yellow, with an inscription on the left and my name on
the right, like a fresco whose corners are spoiled with age, and which is appliquéd
upon a golden wall. To the right at the lower end, a sleeping child and three
crouching women. Two figures dressed in purple confide their thoughts to one
another. An enormous crouching figure, out of all proportion and intentionally
so, raises its arms and stares in astonishment upon these two, who dare to think
of their destiny. A figure in the center is picking fruit. Two cats near a child. A
white goat. An idol, its arms mysteriously raised in a sort of rhythm, seems to
indicate the Beyond. Then lastly, an old woman nearing death appears to accept
everything, to resign herself to her thoughts. She completes the story! At her feet
a strange white bird, holding a lizard in its claws, represents the futility of
words….So I have finished a philosophical work on a theme comparable to that
of the Gospel.”
Paul Gauguin, 1898
Where we
came from
Where we are
•Picking fruit – Garden of
Eden??
Where we are going
• Idol – The beyond
(afterlife)??
•Old woman – Near death?
Accepting death?
Carson, Pirie, Scott and Company Building. Chicago, Illinois, U.S. Louis
Sullivan (architect). 1899–1903 C.E. Iron, steel, glass, and terra cotta.
Birth of Modern Architecture
• Embraced industrial age
materials
• Office buildings and
department stores
• Forerunner of skyscrapers
• Chicago fire of 1871 left
open space for a modern
city – building up rather
than out was more efficient
use of space
2 Things Make This
Possible
1. The Elevator
2. Steel Girder Framing• Vertical and
horizontal beams
welded together
create an
exoskeleton –
“skin” can be large
windows
Carson, Pirie, Scott and Company Building. Chicago, Illinois, U.S. Louis
Sullivan (architect). 1899–1903 C.E. Iron, steel, glass, and terra cotta.
“Form follows function.”
• Function of a building
should be clearly reflected in
its appearance
• Departure from earlier
architectural styles
Each dot is a vertical steel
beam welded to a horizontal
one…floors placed on top
The Kiss. Gustav Klimt.
1907–1908 C.E. Oil on
canvas.
The Kiss. Gustav Klimt. 1907–1908 C.E.
Oil on canvas.
Context and Content
• 1902 – Klimt travels to
Ravenna, Italy and views
Byzantine mosaics –
inspires him
• Gold and decorative
patterns
• Rectangle =Male
• Circle = Female
• Gold background =
Heavenly realm? Bliss of
love and uniting?
Gustav Klimt
Vienna artist known
for his “Golden
Period”
Influenced by
symbolism – wanted
to capture human
existence and
universal experiences
The Kiss explores
passion
Figures are separate individuals
but also united
Self-Portrait as a Soldier. Ernst
Ludwig Kirchner. 1915 C.E. Oil
on canvas.Context and Content
• German Expressionism –
WWI era, Color used by
Fauvism influences German
painters
• Distortion of forms
• Rugged outlines
• Rough brushstrokes
• Soldier wears uniform, but
not in battle
• Hand amputated with
gangrenous writs
• Empty eyes, psychological
trauma
Ernst KirchnerDemonstrates his fear
and anxiety about
WWI
Physical and mental
damage done by the
war
Artist shown in his
studio with back turned
away from nude model
and his unfinished
painting
Kirchner faced
continued physical and
mental decline, 639 of
his works confiscated
by Nazis
Committed suicide in
1938